Felix Baumgartner to attempt record-breaking supersonic freefall today

In a few hours, extreme athlete and skydiver Felix Baumgartner will attempt to become the first human to break the sound barrier jumping out of a balloon at more than 120,000ft/36.5km above Roswell, New Mexico.

The mission called Red Bull Stratos, will attempt to transcend human limits that have existed for 50 years. Supported by a team of experts Felix Baumgartner plans to ascend to 120,000 feet in a stratospheric balloon and make a freefall jump rushing toward earth at supersonic speeds before parachuting to the ground. His attempt to dare atmospheric limits holds the potential to provide valuable medical and scientific research data for future pioneers.

Felix consistently challenges his personal limits while pushing the physical boundaries of human flight. In 2003, Felix completed an unprecedented flight across the English Channel with a carbon wing, and subsequently began to consider an even bigger goal: the supersonic freefall. With a team of the world’s top scientists, engineers and doctors behind him, Felix will attempt to rewrite history and advance aeronautical research with Red Bull Stratos.

“On a mission like this, you need to be mentally fit and have total control over what you do, and I’m preparing very thoroughly.”

Covered from takeoff to touchdown by more than 35 cameras in the air and on the ground, the live online broadcast will provide a firsthand experience of the entire mission (weather permitting).

You can watch the live broadcast starting in three hours here: http://www.redbullstratos.com/live/

About Felix Baumgartner

Born in Salzburg, Austria in 1969, Felix began skydiving at the age of 16 and polished his skills as part of the Austrian military’s demonstration and competition team. In 1988, he began performing skydiving exhibitions for Red Bull. The company’s out-of-the-box thinking and Felix’s adventurous spirit clicked, and they’ve collaborated ever since.

By the 1990s, Felix felt that he’d gone as far as he could with traditional skydiving, so he extended his canopy skills with BASE jumping – parachuting from a fixed object or landform. He finds that the lightning-fast reflexes and precise techniques required by such low-altitude feats also enhance his high-altitude skydiving technique.

Felix has made world-record BASE jumps and has been nominated for a World Sports Award and two categories in the NEA Extreme Sports Awards. He is also a prominent advocate for the nonprofit Wings for Life Spinal Cord Research Foundation. And, while he acknowledges that the Red Bull Stratos mission is a step into the unknown, his determination to reach the edge of space and break the speed of sound is unshakable. “If Red Bull Stratos is successful, we can share data that hasn’t been available ever before,” Felix states. “I would be proud to be able to make such a contribution.”

Posted on October 9, 2012 by Martin in News 3 Comments

Film Diehards – Last Directors Using Film

As progress in digital sensors has narrowed the gap of noticeable resolution difference between video and celluloid film to nearly equivalent in comparison, most of Hollywood has opted to let go of the nostalgic days of the past in favor of the cost and time effective benefits of digital media. Standard monikers in old Hollywood, like Kodak and Panavision, are suddenly being replaced with names like RED and even Canon’s Prosumer 5D series – with some exception, of course. There are a few diehard celluloid enthusiasts who continue to passionately embrace the harder way of doing things.

Steven Spielberg

The patriarch of modern blockbuster cinema, Spielberg is known for backing (and even inciting) the latest technological advances that move cinema forward. Except for the actual medium he utilizes, it seems. He has continued to shoot on film stock for his last several films (minus The Adventures of Tintin, his animated co-venture with digital enthusiast Peter Jackson), and states that he will continue to shoot until the last film-lab closes (which he has desperately noted could be within the next 10 years).

Woody Allen
Woody Allen is also meeting the digital revolution with incredible resistance. Just as with the rest of his canon, his most recent film, To Rome With Love, was shot entirely on 35mm. When interviewed by Huffington Post about her experience on working with Allen, the film’s co-star, Greta Gerwig, spoke in admiration of the medium: “It might be the last time I ever get to shoot on film. Nothing is shot on film. Really, nothing is shot on film anymore. I met with a director who said, ‘There’s no reason to shoot on film anymore. It would be like having a television with the big back. You don’t need it.’… It made me feel like I was in the studio system. It was super cool.” Certainly, Allen still grounds himself in the cinematic authenticity of using film.

Sofia Coppola
Although her father, Francis Ford Coppola, has not maintained Allen and Spielberg’s reluctance to give into the newer technologies, Sofia Coppola embraces the purist nature of shooting on celluloid. Having been raised in the Hollywood system likely has had its influence on the more traditional methods of lighting and photography, and it shows in her films. All of her features are shot on film. Interestingly, her only credit as cinematographer is pure video: a mockumentary of the dance troupe from her former husband Spike Jones’ music video Praise You.

Oliver Stone
Oliver Stone is rampantly seeking film stock for each of his films under the burgeoning foothold of digital. As he pauses for several years between each of his more recent features, it has become increasingly difficult to secure the dying format. Coupled with Stone’s knack for using several types of film stocks and sizes within various scenes in each of his movies, he fights desperately to avoid an inevitable artistic dilemma. Surprisingly, he remains enthusiastic about what digital projection holds for the future of film, but insists that the contrast and brightness of film remains superior to even the latest in digital cinematography.

Christopher Nolan
Perhaps the most popular example of celluloid enthusiasts is one of Hollywood’s newest champions, Christopher Nolan. Having chosen University College London specifically for its filmmaking facilities (which consisted of a Steenbeck reel-to-reel editing bay and two 16mm cameras), Nolan studied English but developed a direct love of the (relatively) vintage film making techniques. He has shot multiple films with scenes on 65mm IMAX, which has only recently been threatened by the announcement of a new 3D digital IMAX camera. However, Nolan’s Batman series has inspired the makers of IMAX to continue to embrace the celluloid medium, as IMAX president Mark Welton states: “Both Chris Nolan and IMAX thought it was a great idea to have as many film-based screens as possible to take advantage of this powerful presentation. So we worked with another partner on developing a rail system that allows us to move the film-based equipment in and out again if there’s a digital-only release.”
Although most true film buffs and filmmakers alike can agree that film still produces warmer, richer tones and feel, it seems inevitable that the industry as a whole is moving forward into digital. Even Kodak (the originator of digital photography) and Panavision have changed their business plan to focus on new, evolving digital divisions. Those directors who choose to stay with film do so because it is a treasured medium, an element that is becoming too costly and impractical to contend with changing times, but one that has its roots deeply engrained in the process and tradition of a beloved art form.

Guest post by Zack Mandell
Zack Mandell is a movie enthusiast and owner of Movieroomreviews.com and writer of movie reviews about movies such as The Adventures of Tintin. He writes extensively about the movie industry for sites such as Gossip Center, Yahoo, NowPublic, and Helium.

Posted on August 22, 2012 by Zack Mandell in Entertainment Leave a comment

Aquatica announces the A5D Mk III Housing for the Canon 5D Mk III

Press Release. Montreal, Canada, June 7, 2012

The Aquatica Team is proud to introduce you to the Aquatica A5D Mk III housing for the acclaimed Canon 5D Mk III. Our Design team has upped the game with this recently released camera. New features have been added to this housing to improve operation and compatibility, but importantly, this precision housing is the product of a very time proven lineage of underwater camera housing. 30 years of knowledge in this field has made sure that every aspect of the housing ergonomics and access to all controls were carefully implemented. The final result of this camera housing mirrors the constant evolution of technology and the input of highly respected professionals image makers from around the world.

The Aquatica A5D Mk III housing still benefits from the finest material available in the industry. Carefully crafted from a selected alloy of aircraft grade aluminum and premium grade of stainless steel, the housing is machined on the latest 5 axis computer assisted machines. It is then protected by anodizing to North American military specification for further protection, Aquatica provides corrosion inhibiting zinc anodes as standard equipment and coats their housing with a baked on, tough as nail, powder coating. This extra level of protection does make a huge difference as can be seen on some Aquatica housings that even with over 1,500 dive on them, still look as fresh as the day they came out of the box. This housing is made for the hard working professional in mind, one who truly understands reliability in the field.

We introduced on this housing a newly designed camera tray; it smoothly and precisely positions the camera in the housing and is easily disengaged by a simple push on a tab. The zoom actuating pinion gear and the lens release lever pull out to allow the user to remove the camera from the back while keeping a lens and zoom gear attached.

Additional bulkheads pass through access holes have been added (bringing the total to three) to allow uses of potential accessories such as an external monitor, triggering device and/or sound recording accessories. Given the immense impact of its predecessor, the Aquatica 5D Mk II, had on the underwater video industry, it was deemed absolutely important that this new housing be optimized even more for this task, all video controls where redesigned for easier reach and smoother operation, without sacrificing nothing to the still image side of the housing operation.

The AF-ON & star button access is now provided with a rotating collar that prevents ambient pressure from pushing it back toward the housing. Menus buttons have been angled to provide better access from your left hand. A new gear system with a smaller housing pinion gear and larger lens gear results in smoother action while zooming in a video sequence.

The A5D Mk III housing was made as small as a it could be, nevertheless its lightness in weight should not be taken for a weakness. This housing still has the same standard 90m/300ft depth rating and can still be upgraded to 130m/425ft. Its knurled knobs and oversized controls mean easy operation no matter what the situation is. Being built in Canada means that every Aquatica housing is born and bred in one of the world most rugged diving environment. Bottom line, if it works in our local conditions, it will work everywhere else!

Handling is still via molded grips, they have been the reference in comfort for the last 25 years. Theses lightweight yet sturdy grip handles are made of one piece and cannot come unglued, fall apart or corrode. Both grips are provided with mounting holes ready to accept the most current strobes and their supporting arms. The housing has an extra mounting point for a focus/video light or other accessories on top and 3 additional mounting points are provided under for various brackets, support or tripods.
Bulkhead strobe connectors have also evolved, with six active pins bulkhead giving access to TTL flash exposure via currently available third party TTL converters. They are now user serviceable and replacing them is done quickly without requiring the need for any special tool, in a matter of minutes. Again, these improvements were implemented with the working professional in mind, reliability and user’s friendly field maintenance being the key word here.

On the right is a view of the office end on the new Aquatica A5D Mk III, clearly showing the serious nature of this housing. On the left hand, the buttons and mode selector control are angled and positioned for quicker access to the various functions. On the right hand the record button has been relocated closer to your thumb and not only has it been oversized but is now clearly identified with a bright red coating. The Live View toggle remains within easy reach and the SET button has also been oversized. The multi controller pad found on the Canon 5D Mk III is now made accessible. All push buttons are of high quality Type 304 stainless steel, the same used in the aerospace industry; these will not break or rust. Their smooth operation and position gives the photographer a very intuitive and normal feel to the housing.

The Aquatica A5D Mk III is supplied with our Galileo type eye piece. This high quality and coated optical finder gives a bright and full view of the view finder. For those seeking the ultimate in viewing for still image, the optional Aqua View Finder, available in straight and 45 degrees version, are among the best of the industry, they can easily be installed in a matter of a few minutes by the user. The enlarged and enhanced image provided by the Aqua View Finder is second to none in clarity, It provides the photographer with tack sharp corner to corner viewing of the camera view finder for composing and critical focusing

Shown on this photo and ready to go to work, is the Aquatica A5D Mk III with the 9.25” Megadome, state-of-the- art BK-7 coated glass dome, it is attached to our unique extension ring with manual focus capability, this extension is available for both the Canon EF 16-35mm f/2.8L USM Type II and the EF 17-40mm f/4L USM, Two serious candidates for the video shooter and for which manual focus access is vital, manual focusing with prime lens focusing can be done using the controls knob on the upper left side of the housing.

The A5D Mk III is supported by one of the most established and comprehensive port and accessories system of the industry. The Canon 5D Mk III is destined, much like its predecessor, the 5D Mk II, for a life of multi tasking role. This previous A5D Mk II is still being used by many of the major television underwater documentary production; it has been embraced by scores of top image makers in the world whose work can be seen weekly on network television, advertising work and movie productions.
This philosophy that made the Canon 5D Mk II and its Aquatica housing so popular has not been lost on this newer version! Every effort was made to give you an underwater imaging system that can be tailored to your needs.

The Aquatica A5D Mk III is a very compact and lightweight housing tipping the scale at just:

Dimension: (with grip attached) W 35cm x H 19.5cm x D14.5cm / W 13.78” x H 7.65” x D 5.72” Dimension (without grip) 23cm x H 19.5cm x D14.5cm / W 9.06” x H 7.65” x D 5.72”

Priced at just 3,199.00 USD, it is the most economical and best designed of its category.

For more information, please contact Aquatica at info@aquatica.ca

Posted on June 8, 2012 by Martin in Canon, Press Release 2 Comments

World’s First Full 4K Super Slow Motion Camera

FOR-A to Introduce The FT-ONE – World’s First Full 4K Super Slow Motion Camera at Cine Gear Expo Los Angeles

Cypress, California, May 22, 2012

FOR-A Company Limited, a leading manufacturer of video and audio systems for the broadcast and professional video industries, will debut the FT-ONE full 4K high resolution variable frame rate camera—the world’s first full 4K super slow motion camera—Booth S320 at Cine Gear Expo, which runs from June 1-2 at The Studios @ Paramount in Hollywood. Now in its 16th year, Cine Gear Expo is the premier film, video, and digital media expo for the entertainment industry.

Harnessing the power of a state-of-the-art, FOR-A originally developed, high-sensitivity CMOS color sensor “FT1-CMOS”, the FT-ONE records and plays back full 4K (4096 x 2160) film look imagery. To achieve its full 4K super slow motion (“super slomo”) capabilities, the FT-ONE will record up to 1,000 frames per second.

Images are captured as uncompressed raw data on the system’s internal (RAM) memory, which has a recording capacity of 8.5 seconds. This data is then stored on one of two hot-swappable SSD cartridges. Each cartridge is capable of storing 75 seconds of full 4K resolution images, enabling up to 150 seconds with a maximum of two SSD cartridges.

The FT-ONE is capable of simultaneously recording and playing back in full 4K resolution. At the user’s preference, one output channel can provide either full 4K output, or four 1080p HD-SDI outputs; while the other output channel provides down-converted HD-SDI for live viewing and the control menu.

“While digital cinematography has been widely adopted within the motion picture production and post production communities, there has been a technology gap—the ability to record super slow motion image at full 4K resolution,” said Hiro Tanoue, President for FOR-A Corporation of America.
“The new FT-ONE completes the 4K workflow by introducing this ability, with the high-level performance this application demands. We chose Cine Gear Expo as the venue for our breakthrough announcement since this event draws key decision makers and creatives seeking the latest solutions for high-end entertainment production. With the FT-ONE camera rolling, they can rest assured they won’t miss that critical action shot.”

The FT-ONE camera uses a PL mount lens and the global shutter system makes the FT-ONE free from the picture distortion caused by the rolling shutter system. The FT-ONE is designed as a self-contained unit that is dependable and easy to use. It weights 7 kg in a size of 235 mm (W) x 294 mm (H) x 384 mm (D).

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, post-production and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit www.for-a.com.

Posted on May 23, 2012 by Martin in FOR-A, Press Release Leave a comment

Blackmagic Design announces the Blackmagic Cinema Camera 2.5k Sensor

Press Release

LAS VEGAS, Apr 16, 2012 (BUSINESS WIRE) — Blackmagic Design today announced Blackmagic Cinema Camera, a revolutionary digital cinema camera design that includes powerful features such as super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in an attractive compact design for only US$2,995.

Many current generation video cameras suffer from a “video look” due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management. With these limitations, they cannot be used for high end work or feature films.

Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.

Posted on April 16, 2012 by Martin in BlackMagic, News, Press Release 1 Comment

Introducing the Sony NEX-FS700 1080p HD

Sony just announced the NEX-FS700 camera early this week. It has all the features of the FS100 but with some big improvements including a 3G-SDI output, ND filters and high-speed recording options. The big news is that the camera is “4k Ready,” meaning that in the future it will be able to output 4K 12-bit RAW data over the 3G-SDI connection.

The list price of the camera will be around $10,000, and it should ship in June of this year. Watch the video above to get a closer look at the slow-motion fonction of the camera and read the Preliminary information from Sony Europe to have an idea of some the specs.

The first footage from Sony’s new NEX-FS700. The new Super 35mm model is designed for high-speed shooting and is capable of capturing footage at up to 960 frames per second. The camcorder also features a range of capabilities such as 3G HD-SDI output and built-in ND filters. Additionally, it also offers several creative options, shooting styles and enhanced ergonomics – all based on customer feedback – to deliver a flexible production tool that fits seamlessly into a variety of shooting applications.

Posted on April 13, 2012 by Martin in Press Release, Sony Leave a comment

CANON announces the EOS-1D C DSLR 4K Camera

LAKE SUCCESS, N.Y., April 12, 2012 – Continually advancing the frontiers of digital high-resolution motion-image capture for film, television, and other industries, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the EOS-1D C digital single-lens reflex (SLR) camera.* Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.

Posted on April 12, 2012 by Martin in Canon, Press Release Leave a comment

Vision Research Announces the Phantom Miro M320S: 1540fps at 1080p

The Phantom Miro M320S is a small, lightweight, rugged digital high-speed camera packed with advanced features, which now includes HD-SDI for advanced monitoring and workflow possibilities. The camera has advanced features previously available on cameras at twice the price, is easy to learn and use, and addresses applications in a wide variety of industries.

The M320S is a 2 megapixel camera with 3.2 Gigapixels/second (Gpx/s) throughput. This translates to 1380 fps at 1920 x 1200, or over 1500 fps at 1920 x 1080. The M320S uses microlenses on its custom-designed CMOS sensor with 10 μm pixel pitch to achieve great light sensitivity, and with 12-bit pixel depth you can expect excellent image quality.

1920 x 1080 resolution at 1,540 fps
1152 x 1152 square resolution at 2,250 fps
Throughput 3.2 Gpx/s
Minimum exposure: 1μs
ISO: 8600T Mono; 1100T Color
Compatible with the Phantom RCU for un-tethered recording
HD-SDI output for improved video workflow and monitoring

Posted on April 5, 2012 by Martin in Phantom, Press Release 1 Comment

New Canon EOS 60Da DSLR Camera For Astronomy Enthusiasts

LAKE SUCCESS, N.Y., April 3, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today introduced the EOS 60Da Digital SLR Camera, a long-awaited successor to the EOS 20Da that is optimized for astrophotography. This DSLR caters to astronomers and hobbyists who enjoy capturing the beauty of the night sky by offering a modified infrared filter and a low-noise sensor with heightened hydrogen-alpha sensitivity. These modifications allow the camera to capture magnificent photographs of “red hydrogen emission” nebulae and other cosmic phenomena.

“The EOS 60Da is a testament to the constant desire to meet the needs of every customer, including those in specialized fields,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., “This new camera enables an accurate depiction of a part of our solar system which is hard to achieve with conventional cameras but should be enjoyed and celebrated.”

Canon 60Da Orion Nebula

The Canon EOS 60Da camera packs a powerful 18-megapixel CMOS sensor (APS-C) that produces sharp and high-contrast images of astronomical objects, a major enhancement over the EOS 20Da model’s 8.2-megapixel sensor. The improved infrared-blocking filter is a modification suited specifically toward astronomy enthusiasts to achieve a hydrogen-alpha light sensitivity that is approximately three times higher than that of a normal Canon DSLR camera. This produces a 20-percent higher transmittance of Hydrogen Alpha line, or H α wavelength, allowing astronomers to capture crisp, clear images of reddish, diffuse nebulae.

Posted on April 5, 2012 by Martin in Cameras, Canon, DSLR, News, Press Release Leave a comment

WEISSCAM “SWEET 16″ PRODUCTION BUNDLE AT NAB

WEISSCAM’s SWEET 16 combines the technological flexibility of the T-CAM with the unbeatable optical quality of ARRI‘s Ultra 16 lenses, creating the perfect 16mm production bundle. SWEET 16 is limited and can be reserved at NAB 2012. SWEET 16 production bundle contains one T-CAM and three ARRI Ultra 16 lenses.

The SWEET 16 production bundle is the ultimate combination of two “state of the art” products. The T-CAM with its innovative SOHA platform offers the customer a uniquely long life-cycle product with all kinds of upgrade options. ARRI‘s Ultra 16 lenses offer outstanding optical performance inside an incredible compact and durable housing.

As Weisscam DoP and CEO, Stefan Weiss comments:

“Shooting with the SWEET 16 production bundle offers you a really compact high-end creative solution. With a total weight of just 3 kilos (6.6 lbs) you can shoot up to 340fps, have a T-Stop of T1.3, a close focus up to 0,2m (from film plane) and a beautyful, cinematic depth of field”.

The SWEET 16 production bundle is also a perfect solution for every 3D shooting:

All T-CAMs can be synchronized easily and use only perfectly matched sensors. The ARRI Ultra 16 lenses are super color matched and are the ideal partner for the T-CAM, providing an optimal 3D solution for professional film makers.

The superbly compact and light ONE HOUSING CONCEPT of the T-CAM complements the ARRI Ultra 16 lenses with their similarly compact design across all focal lengths, including the wide angle 6mm.

You can visit WEISSCAM at NAB (booth C8740) to reserve the exceptional SWEET 16 production bundle.

Sweet 16 Bundle

Press Release in English

Press Release in German

About Weisscam:

With a long history of working “on set,” on locations around the world and with some of the largest studios and production companies in Germany, Weisscam puts extensive experience into everything they do. Weisscam GmbH provides high-quality and expertise in the following areas: Camera development, Equipment Rental, and Production Services.

Stefan Weiss, DoP, created his first prototype digital high-speed camera, the WEISSCAM HS-1, in 2005 in order to fill a gap in the market and meet the needs of his client’s projects. With the development of the WEISSCAM HS-2, Weisscam began expanding its product family, which now includes the WEISSCAM Digimag DM-2, the WEISSCAM Handunit HU-2, and the WEISSCAM Debayerbox DBB.

“Everything Weisscam does is based upon our direct experience in film production as well as input and feedback from our customers, users, and extensive industry network. Because we are not just product designers, but also professional film people, we have the direct experience of our equipment as professional users. Combining this with the input and feedback from our customer and user base, ensures that we are developing future-oriented technology and products that meet professional standards and needs.” Stefan Weiss, DoP and Managing Director, Weisscam GmbH

http://www.weisscam.com

Posted on April 4, 2012 by Martin in Cameras, News, Press Release, Weisscam Leave a comment

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About FOR-A

Press Release

Martin Ureta